Mac Miller has come a long way. After bursting onto the hip-hop scene in 2011 with the commercially successful but uncompromisingly basic “Blue Slide Park,” the rapper has since distanced himself from his debut album, opting instead for deeper introspection and more experimentation. “The Divine Feminine” represents a culmination of Miller’s growing artistry.
The album is his most cohesive and boldest yet, and showcases a surprising versatility between singing and rapping skilled enough to make Drake proud. However, Miller at points does revert to his old, simplistic tendencies, holding back an otherwise impressive work.
To be clear, “The Divine Feminine” has nothing to do with feminism in any political context. Rather, Miller uses the album to ruminate on the ever-complex topic of love by relating his experiences throughout the various stages of his relationships.
The tracks often sound like sincere letters to a lover, each portraying the different emotions and vibes of different phases of relationships. Miller constantly uses the second person to express his sentiments, making the album deeply personal and creating an effect of proximity, usually placing listeners in the position of his women — perhaps why the album carries its title. At the same time, though, he does well not to ostracize male listeners, and keeps each song relatable.
For example, on “Dang!” Miller pleads for his significant other to stay. Throughout the track, he repeats, “I can’t keep on losing you,” which serves as both a direct appeal to his lover for stability, but also reveals his underlying insecurities in regards to their relationship.
In “My Favorite Part,” another standout track on the album, Miller sings and smoothly flatters his sweetheart: “You just don’t know how beautiful you are / And baby that’s my favorite part.” Miller is also perfectly complemented with a feature by his actual squeeze, Ariana Grande, giving the song an effect of authenticity. It’s not hard to buy into Miller’s flirty vibe when his girlfriend is on the other side of the mic, reciprocating his advances.
Sonically, “The Divine Feminine” is consistently slow, jazzy, sensitive and soulful. It is clear Miller targeted an R&B ambience to accompany his themes and messages about love and lust, and he pulls it off expertly in his versatile delivery, fluently alternating between singing and rapping. The album’s aura is further augmented by the vibey production techniques Miller chooses.
One problem which plagues the album at times, however, is Miller’s tendency to regress to his uncomplex and at times blunt storytelling mode of old. Lines such as “Won’t get hall of fame d--k from a minor league dude” do little to contribute to the personal proximity and vulnerability Miller is striving for. Long stretches of the album deteriorate into not much more than filler. The release also fails to break new ground in the genre. The romantic topics Miller explores, although relatable, follow a mold hundreds of artists before him have carved out.
In the end, though, “The Divine Feminine” remains a smooth and pleasant listen. Miller can’t be blamed for drawing from R&B en route to producing an album of love songs. It is an immensely powerful emotion, and Miller is human, after all. And through a combination of proximal, charming storytelling and Miller’s suave flair, his album undeniably seems so as well.
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